|Music by Brenda Hutchinson|
Perhaps best known for her work on the soundtrack to the movie "Liquid Sky", Brenda Hutchinson is a composer and sound installation artist who specializes in electro-acoustic compositions or "sonic portraits". She has studied with Pauline Oliveros and Robert Erickson, and performed around the world, often on instruments of her own devising, including the Long Tube, for which she has also created a gestural interface...
Keywords: Electro-acoustic; Music; Electronic music; KPFA-FM
|Other Minds Festival 13: Panel Discussion and Concert 2|
Charles Amirkhanian moderates a panel discussion with the composers featured in the second concert of OM 13. Swedish composer, Åke Parmerud, discusses his tape work “Dreaming in Darkness”, that utilizes spatial separation in an attempt to capture his ideas of how it might be for blind people to dream in sound. Cellist and composer, Michael Bach describes his collaboration with John Cage on “One13” which was composed for a cello using his unique curved BACH.bow...
Keywords: Music; Electro-Acoustic; Electronic; Other Minds
|Anthony Gnazzo: Space and Motion Study for Dancer No. 3|
Third in a series of studies in motion for dancers. Sound material is that of Study No. 2 (Dec. 1965) with a number of rearrangements and transpositions. Entire series of studies was done for the dancer Judith Jacobs. Alternate performance variations can be made by playing simultaneously with copies at different speeds. Composed by Anthony Gnazzo at the University of Toronto Electronic Music Studio, (Feb...
Keywords: Music; Electro-Acoustic; Electronic; Anthony Gnazzo
|Vocal Tape Delay by Jon Gibson|
Jon Gibson is an American composer, visual artist, and talented wind instrumentalist. He was an early collaborator with Steve Reich and a founding member of the Philip Glass Ensemble. Although well known for his work in jazz, minimal, and world music, Gibson was also an early experimenter with electronic music and frequently worked with such composers as Larry Austin and Stanley Lunetta. The work on this recording features extensive vocalizations of a wide variety...
Keywords: KPFA-FM; Music; Electronic music; Electro-Acoustic
|Harvey Matusow and the International Carnival of Experimental Sounds|
Charles Amirkhanian talks to Harvey Matusow about the International Carnival of Experimental Sounds (ICES ‘72), an avant-garde music festival, based on the theme of myth, magic, madness and mysticism, that was held in August 1972 in London. Featuring 46 concerts in 14 days, including marathon performances in an refurbished railroad roundhouse, a music train to Edinburgh, films, happenings, and performances by avant-garde artists, dancers, and musicians from around the world, ICES ‘72 could b...
Keywords: KPFA-FM; ICES; Music; Electro-Acoustic; Electronic
|Payne Box: Sawtooth Wave|
This is an early example of the types of sounds that can be created electronically. It is uncertain if this modulated sawtooth wave was intended as a piece of electronic music or simply as a demonstration of a certain type of analog synthesizer. The accompanying documentation indicates it was one channel of a “Payne Box,” which may indicate that it was created by either Maggi Payne or John Payne, both composers of electronic music associated with KPFA during the late 1960s and early 1970s.
Keywords: KPFA-FM; Analog; Music; Electro-Acoustic; Electronic
|Radiofest: The Pioneers of Electronic Music in America|
This is a program, produced by the American Society of University Composers in conjunction with Radiofest: New American Music, in which the work of two early American pioneers in electronic music is explored. During the early 1950s Otto Luening and Vladimir Ussachevsky collaborated on a number of electro-acoustic recordings that utilized the newly available tape recorder, and employed such seemingly basic techniques as feed back and changing tape speeds to transform pitch with considerable effec...
Keywords: KPFA-FM; Radiofest; Documentary; Electro-Acoustic; Electronic
|The History of Sound Poetry: An Introduction - Charles Amirkhanian|
Charles Amirkhanian traces developments in 20th Century text-sound composition, including recorded examples by such historical figures as Kurt Schwitters, Raoul Hausmann, Ernst Toch, Gertrude Stein, Mauricio Lemaitre, François Dufrene and Henri Chopin. More modern examples of American work follows. Production of this program funded by the Berkeley Civic Arts Commission.
Keywords: Sound Poetry; Documentary; Electro-Acoustic/Electronic
|The Greatest Hits of BIOME|
Members of BIOME, a live electronic music ensemble, perform Tactus Tempus by Frank McCarty, live on KPFA on February 22, 1973. The performers are Allen Strange, Frank McCarty, Pat Strange, Boots McCarty, Steve Ruppenthal, and Steve Whealton. Following the piece, which is performed on four Synthi electronic music modules, the players talk with Charles Amirkhanian about the group and their music.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; BIOME
|Takashi Harada: A Recital for Ondes Martenot & Piano at Other Minds 8, 2002 - Other Minds|
Takashi Harada's 2002 recital for Ondes Martenot and piano at The Other Minds Music Festival 8 in San Francisco California. A Recital for Ondes Martenot and Piano Dedicated to the memory of Jeanne Loriod (1928-2001) Takashi Harada, Ondes Martenot Hiroko Sakurazawa, piano Pieces streamed in order: Andre Jolivet: Trois Poemes pour Ondes Martenot et Piano (1935) West Coast Premiere Ondes Serimpie Chant d'oppression Takashi Harada: Poison d'or, for Ondes & Piano (2001) U.S...
Keywords: 20th Century Classical; Music; Electro-acoustic
|Introducing the Buchla Music Easel|
A 1975 recording of a party introducing one of Don Buchla’s synthesizer, probably the Music Easel. This program begins with the sounds of Buchla and others preparing the instrument for presentation while also describing its features to interested people who are milling around the studio. Then a composition entitled “Terminal References” is performed, followed by additional music that plays in the background as the party continues, and ending with the performance of a long electronic piece...
Keywords: Music; interview; electronic music; electro-acoustic; synthesizers
|Other Minds Festival: OM 19 Panel Discussion and Concert 2 - Other Minds|
The second, concluding, concert of the 19th Other Minds Festival of New Music (OM 19) was held on March 1, 2014 in the newly inaugurated SFJazz Center in San Francisco. The evening’s program included a mix of electronic, jazz, and piano music with a little bit of African parrots added for spice. The program begins with Charles Celeste Hutchins, a young, California-born, but now London based, composer and computer programer, who performs a computer music piece that relies on the composer drawin...
Keywords: Music; panel discussion; electronic music; Electro-acoustic
|Pythagorean Clavinet Phaze by Don Cardoza|
This is a half hour long piece of entrancing music for the clavinet, that appears, at least to the untrained ear to have been influenced by Indian ragas. The clavinet is an electronically amplified clavichord and produces a sound quite similar to an electric guitar, despite it being a keyboard instrument. Don Cardoza has studied piano with Carlo Busotii and Michaiko Kolbiaka, among others, and he studied composition with Wayne Peterson, Fred Fox, and Ton De Leeuw at the Amsterdam Conservatory an...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Don Cardoza
|New Directions in Europe: Program No. 3|
Program No. 3 from a 13-part series exploring new music activity throughout Europe, produced in 1984 by Ned Wharton of KFJM (Grand Forks, North Dakota), and funded by a grant from the National Public Radio’s Satellite Development Fund. Recorded at the Pompidou Center in Paris, this program focuses on the Workshop for Instrument Research at the Institut de Recherche et Coordination Acoustique -Musique (IRCAM), a Paris based center dedicated to the study of avant-garde electro-acoustic music and...
Keywords: KPFA-FM; KFJM; Documentary; Music; Electro-Acoustic; Electronic; IRCAM
|Stereo Radio by Anthony Gnazzo|
“Stereo Radio” is another inventive experimental composition by one of the early wizards of the electronic music studio, Anthony Gnazzo. Ever playful and energetic Gnazzo was well known to KPFA listeners in the 1960s and 70s for his often irreverent yet always entertaining works that explored all the conceivable possibilities offered up by early electronics, new aleatoric compositional techniques, tape manipulation, with the occasional kitchen sink occasionally thrown in for good measure...
Keywords: KPFA-FM; Electronic music; Electro-Acoustic; Musique concrète; Aleatory music
British composer, electronic music specialist, and program host, Richard Povall presents the final installment of his KPFA series, Stereochemistry, broadcast on August 27, 1990. This is a program of newly released computer music, poetry, theater, performance and technology driven art, as well as whatever else he could get his hands on, but always highlighting the use of technology in a creative way...
Keywords: KPFA-FM; Interview and Music; Performance Art; Electro-Acoustic; Electronic
|Amnon Wolman: And Then She Said|
A live performance at Stanford University of a piece for actress and computer generated and processed tape, recorded in April 1987.
Keywords: KPFA-FM; Music; Music Theatre; Electro-Acoustic; Electronic; Amnon Wolman
|Not So, Gnazzo|
After yet another period of self-imposed retirement, intermedia artist, war correspondent, and general man around town, Anthony Gnazzo, returned to radio in 1971 with another important prerecorded message. “Not So” is an extended text-sound composition which combines taped telephone conversations with what sounds like live readings of selected cut-up texts and other sundry auditory eruptions. Is it just derivative of past avant-garde masterpieces or is it a hilarious, cutting-edge commentary...
Keywords: KPFA-FM; Music; Sound Poetry; Electro-Acoustic; Electronic
Downloads: 137 (1 review)
|New Music FM I: Signal Smart|
Ned Sublette introduces a program of five works produced for the broadcast medium by New York composers. These full length, electronic and musique concrète pieces, most of which involve samples from radio and TV broadcasts, provide a fascinating introduction to the experimental music scene of New York during the early 1980s. The composers represented are Peter Gordon, David van Tieghem, Ned Sublette, Maryanne Amacher, Frankie Mann, and the Boris Police Band...
Keywords: KPFA-FM; WNYC; Music; Electro-Acoustic; Electronic; New Music FM
|Three Early Works by Howard Sandroff|
Three early works by Howard Sandroff. The first work, “Five Aphorisms” is for soprano and small instrumental ensemble, and takes as its text short “bits” of poetry by Kathleen Lombardo. According to the composer the intent of the piece was to create a work “using the sound of the words, rather than their meaning as a point of departure. The text, when sung, isn’t meant to be understood...
Keywords: KPFA-FM; Music; Electro-acoustic; Electronic music; New Music
|Driftwood Cortege by Tim Souster|
A recording of “Driftwood Cortege” by Tim Souster, an English composer who is best known for his electronic music compositions. This atmospheric piece of electronic music was created at the Stanford University Computer Studio in the Fall of 1978, during Souster’s six month stay in the San Francisco Bay Area. Born in 1943, Souster studied with Bernard Rose, Sir David Lumsden, and Karlheinz Stockhausen, among others...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Tim Souster
|The Expanded Ear: Six Acre jam|
Charles Amirkhanian reports on The Expanded Ear music conference, held on April 27-29, 1973 at the Camp de Benneville Pines, in the San Bernardino National Forest. The highlight of the conference was the Six Acre Jam, performed over a hillside by about 60 musicians and no less than ten synthesizers. Join Charles as he takes a walk through the woods interviewing performers and composers, including Richard Bunger, Barry Gott, Jacques Bekaert, Nicolas Slonimsky & Dane Rudhyar, all while the sounds ...
Keywords: KPFA-FM; Interview and Music; Free Improvisation; Electro-Acoustic; Electronic
|Source: The First Show|
Larry Austin, Stanley Lunetta and Arthur Woodbury, the editorial staff of “Source Magazine”, a bi-yearly periodical devoted to avant-garde composers’ scores, articles and photographs, present the first in what was to become a regular program on KPFA. This show consists of an extended mix of electronic sounds, speech, and fragments of interviews.
Keywords: KPFA-FM; Music; Electro-Acoustic; Avant-Garde; Source Magazine
|Avant-Garde Trombone Studio Concert|
Stuart Dempster, principal trombonist of the Oakland Symphony, and faculty member of the San Francisco Conservator and California State College, presents a recital of six premiers, including three works commissioned by himself. This concert was held on June 24, 1966 at the San Francisco Tape Music Center. The concert is announced by Charles Boone, composer and officer of the Composers' Forum. During the intermission he interviews Mr...
Keywords: KPFA-FM; Music; Avant-Garde; Electro-Acoustic; Electronic; Trombone
|Four Works by Gordon Mumma|
Four works by Gordon Mumma. The first and last works, “Vectors” and “Densities” are purely electronic tape pieces, very representative of the early, electronic music of Mumma. Also included is “Sinfonia” an electro-acoustic work scored for twelve instruments and tape, recorded on March 4, 1961 at that year’s ONCE Festival in Ann Arbor, Michigan. The ONCE Festival Chamber Ensemble is directed by Wayne Dunlap...
Keywords: KPFA-FM; Music; Electronic; Electro-Acoustic; Gordon Mumma
|Source Program No. 2|
The second in a series of late-night electronic music mixes, produced by the editorial staff of “Source Magazine”, a bi-yearly publication devoted to avant-garde composers’ scores, articles and photographs. Source also produced a series of published music scores, Composer/Performer Edition. This programs is produced by Larry Austin, Stanley Lunetta, and Arthur Woodbury.
Keywords: KPFA-FM; Source Series; Music; Electro-Acoustic; Electronic; Avant-Garde
|Any Resemblance Is Purely Coincidental by Charles Dodge|
Recorded on September 16, 1980 at the International Festival of Electronic Music, in Stockholm, Sweden, pianist Kerstin Åberg, performs Charles Dodge’s “Any Resemblance is Purely Coincidental,” a work for tape and solo piano. According to the composer: “The tape part is based on computer restoration and re-synthesis of the 1907 recording of the legendary Enrico Caruso singing 'Vesti la giubba' from Ruggero Leoncavallo's ‘I Pagliacci’ (1892)...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic music; Piano music
|Syner (”Visions”) by Lars-Gunnar Bodin|
Recorded in stereo quadraphonic, “Syner”, which translates to “Visions”, is a work of electronic music in three movements by Swedish composer and sound poet, Lars-Gunnar Bodin.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Lars Gunnar Bodin
|The Electronic Theater Music of Daniel Lentz|
In program made in association with WOUB Radio of Ohio University and the Appalachian Lighthouse of Athens, Ohio, Daniel Lentz is interviewed about his Electronic Theater Music which was presented in concert at the Appalachian Lighthouse in 1967. The Lighthouse was a concert space equipped with state-of-the-art sound, lighting, and visual projection equipment, which specialized in multi-media performances...
Keywords: KPFA-FM; WOUB; Interview; Music; Electro-Acoustic; Electronic; Daniel Lentz
|Four Early Works by Anthony Gnazzo|
Four early compositions by Anthony Gnazzo. Unlike the later tape pieces for which Gnazzo is perhaps best known, these four chamber and electro-acoustic works show off the more traditional, maybe even academic, side of his many musical accomplishments. Featured works include “Stochata” for two violins, flute, and clarinet, “Music for Two Pianos and Electronic Sounds,” “Music for Piano I,” and “Music for Brass with Electronic Sounds.” The first two works were recorded in 1964 at tw...
Keywords: Music; New Music; Chamber Music; Anthony Gnazzo; Electro-Acoustic; Electronic
|The Music of Orlando García|
Orlando Jacinto García, is a Cuban-born, American composer of new music, and is Professor of Music and Director of the Composition Program for the School of Music at Florida International University. He studied with Morton Feldman, has composed more than 100 works in many different genres, worked with numerous ensembles, and has founded and directed a number of international festivals, including the New Music Miami Festival and the Music of the Americas Festival...
Keywords: KPFA-FM; Music; 20th Century Classical; Electro-Acoustic; Electronic
|Fifth Biennial Survey of Contemporary Music: Works by Frederic Rzewski & Julius Eastman|
One in a series of programs originating from the International Service of Belgium Radio and Television in which the works of contemporary 20th century composers are highlighted. In this edition two pieces by American composers performed by the Society of Electronic Music of Buffalo, New York. First is “Le Montons De Panurge” by Frederic Rzewski, a work scored “for any number of musicians playing melody instruments plus any number of non-musicians playing anything”...
Keywords: Contemporary Music; KPFA-FM; Music; Electro-Acoustic; Electronic
|Selections for Saxophone and Tape by Barton McLean and Kevin Hanlon|
Three works for saxophone and tape as performed by Albert Regni. First up is “Dimensions III” and then “Dimensions IV”, both by Barton McLean, who dedicated them to his collaborator and performer, Regni. These are followed by “Variations” by Kevin Hanlon which is scored for alto saxophone and tape delay.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; New Music
|A Living Man by Sten Hanson|
Recorded in stereo quadraphonic, “A Living Man” is a work combining electronic sounds and recorded voice by the Swedish composer and sound poet, Sten Hanson. The composition begins with a self described electronic music symphony but soon expands so as to include a male voice listing a litany of qualities and activities that a living man enjoys. Composed in 1972 the work is typical of the type of text-sound composition that was quite in vogue in Northern European avant-garde circles during th...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Sten Hanson
|Zion I by Jan Paul Wendt|
A recording of “Zion I” by Jan Paul Wendt. According to the accompanying literature found with the tape, and likely written by the composer: “The palace of holiness in the midst is the true meaning of the word Zion, symbolizing the center of the wheel of life that radiates, in time and space, all the endless and diverse manifestations of its ever-becoming breath of life or prana." “(Nothing else need to be added...
Keywords: KPFA-FM; Music; Electronic; Electro-Acoustic; Ambient sounds
|Music by Martin Bartlett & Alden Jenks|
Three works of electronic music created at the Mill College Tape Center in the 1960s. First up is “Zoomorph” by Canadian composer Martin Bartlett, followed by two pieces by Bay Area based composer Alden Jenks.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Alden Jenks; Martin Bartlett
|Machine: An Electronically Preserved Dream by Trevor Wishart|
Originally broadcast in October of 1972 this recording represented the American premiere of an hour-long work by the British electro-acoustic composer, Trevor Wishart. The piece “Machine: An Electronically Preserved Dream,” was completed in 1971 and was the first major composition by Wishart. It was performed at the International Carnival of Electronic Sound series in London and was eventually released in 1973...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Trevor Wishart
|Touch by Morton Subotnick|
Created on the Buchla Electronic Music System and recorded in quadraphonic sound, “Touch” by Morton Subotnick, is another early electronic music masterpiece by the pioneering American composer. Before the age of microcomputers and digital synthesizers, Subotnick was making engaging works of purely electronic sounds in a style somewhat similar to his better known European colleagues such as Karlheinz Stockhausen...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Morton Subotnick
|Excuse Me, But Are There Any Protozoa In This Pond? by Peg Ahrens|
This is a live, feedback piece, performed by Maggi Payne, Robin Kirck and composer Peg Ahrens and is mixed by Rich Gold. Originally recorded at Mills College on April 27, 1974, the work consists of audio feedback, most likely resulting from five microphones placed or moved in front of a number of speakers, that was then controlled and mixed by an audio engineer. At times sounding like an amplified glass harmonica and at other times like a subdued Hendrix guitar solo, this piece is really a quite...
Keywords: Electronic Music; Electro-Acoustic; Peg Ahrens; KPFA-FM
|Interview with Phil Winsor|
Charles Shere talks to Philip Winsor about his work, Sound Study I, written at the San Francisco Tape Music Center, was followed two years later with his Sound Study II, produced at the Milan Studio. Together they try to sort the differences in achievement out of the similarities of means. A classic example of a classically trained composer (Shere) trying to get his head around the process of composing electronic music...
Keywords: KPFA-FM; Interview and Music; Electro-Acoustic; Electronic; Phil Winsor
|Source: Sound Show, Museum of Contemporary Crafts, New York City|
In this edition of Source, produced by the editorial staff of “Source Magazine”, a bi-yearly publication devoted to avant-garde composers’ scores, articles and photographs, the focus is on a show of Sound Art held at the Museum of Contemporary Crafts in New York City from October 1969 to January 1970. There is a brief description of the history of sound sculpture and then recordings of many of the works featured at the show...
Keywords: KPFA-FM; Music; Electro-Acoustic; Sound Poetry; Source Magazine
|Fontana Mix by John Cage|
This is a tape realization of John Cage’s 1958 composition “Fontana Mix”. More of an indeterminate plan for a piece than a piece itself, “Fontana Mix” has a graphic score consisting of 10 sheets of paper with curved lines and 12 transparencies, 10 of which contain a varied number of randomly distributed dots, 1 with a straight line, and the last with a grid pattern. According to Cage’s instructions these sheets could be superimposed upon each other and then interpreted so as to indic...
Keywords: KPFA-FM; Music; New Music; Electro-Acoustic; Electronic; John Cage
|Accidents by Larry Austin|
Originally released as an insert into the seminal avant-garde “Source” magazine, this is Larry Austin’s “Accidents” for electronically prepared piano. The performers are pianist and frequent John Cage collaborator, David Tudor, with additional electronics provided by the composer himself. Austin, born in Duncan, OK., in 1930 is an electronic and computer music composer and co-founder and editor of “Source: Music of the Avant-Garde” which was noted for it publication of experimental...
Keywords: KPFA-FM; Music; Electro-acoustic; Electronic; Prepared piano music
|Pitch Out by Allan Bryant|
Originally released as an insert into the seminal avant-garde “Source” magazine, this is a recording of members of Musica Elettronica Viva (MEV), performing Allan Bryant’s “Pitch Out” for three guitars and electronics. Musica Elettronica Viva was the premiere experimental electronic music ensembles performing live music during the 1960s and 70s. Bryant, a founding member of MEV, is an American composer noted for his reexamination of the electric guitar as a source of electronic sounds ...
Keywords: KPFA-FM; Music; Electro-acoustic; Electronic; Aleatory music; Guitar music
|Six Modern Swedish Composers|
In a program that was probably first broadcast in 1969 or 1970, Bennett Tarshish presents the works of six 20th Century Swedish composers. The program begins with a piece of electronic music by Jan Morthenson, entitled “Neutron Star”. Next, is a work scored for soprano and chamber ensemble called “Landscape of Dreams” by Maurice Karkoff. This is followed by an electro-acoustic work by Jan Bark, called “Bar”, on which the composer plays all the instruments as well as providing all ele...
Keywords: KPFA-FM; Music; Classical Music; Electro-Acoustic; Electronic; Swedish composers
|Interview with Ilhan Mimaroglu of Finnadar Records|
Charles Amirkhanian interviews Turkish born, Ilhan Mimaroglu, about his new record label Finnadar Records. Mimaroglu, a record producer and a composer in his own right, founded Finadar in a partnership with Atlantic Records, in order to present avant-garde and new world music to the American audience, as well as a means to publish his own compositions.
Keywords: KPFA-FM; Interview; Avant-Garde; Electro-Acoustic; Electronic; Ilhan Mimaroglu
|Electro-Acoustic Works by Ricardo Dal Farra and Arturo Gervasoni|
Two electronic works by Ricardo Dal Farra and two electro-acoustic by Dal Farra and guitarist Arturo Gervasoni. In the words of the composer, taken from some accompanying notes written around 1989: Karma “We can find in ‘Karma’ sounds with more than 100 seconds of duration that slowly change timbre, that seems to come from several points in space, that have unstable pitch. These coexist with other very short sounds that appear in groups of hundreds multiplying the density of attacks, and t...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic music; Computer music
|Toot le Fromage by John Payne|
“Toot le Fromage” is an electronic synthesizer composition by the Berkeley, California based composer, John Payne. The first 25 minutes of this at times almost minimalist piece were composed on the Buchla Synthesizer at Mills College in January 1969. The last five minutes were composed in November 1970 on the Moog Synthesizer at Different fur Trading Company in San Francisco. Taken together the entire work is a perfect example of the sort of music being produced in the 1960s and early 1970s ...
Keywords: KPFA-FM; Music; Electronic; Electro-Acoustic; Synthesizer music
|The Music of Charlemagne Palestine|
Ingram Marshall presents a program on the life and work of composer and visual artist, Charlemagne Palestine. Palestine began his musical career as a carillonneur at St. Thomas's Church in New York City, and later studied electronic music with Morton Subotnick at NYU. In 1970 this quintessential New Yorker traveled west to study at Cal Arts where he became interested in using electronics to produce a subtle style of drone music...
Keywords: KPFA-FM; Music; Electro-Acoustic; Minimalism; Charlemagne Palestine
|Paul Dresher performs Chorale Times Two at Other Minds 4, 1997 - Paul Dresher|
While experimenting with a Yamaha SY-99 synthesizer Dresher created a synthesizer timbre that intrigued him sonically and from which kept emerging a simple expanding chord progression. This suggested the kind of core harmonic progressions embodied in Bach chorales, which are often used as models in beginning studies of harmony and voice leading. The idea kept hanging around and nagging for attention, which it finally receives in the Concerto for Violin & Electro-Acoustic Band...
Keywords: Music; Chamber Music; Electro-Acoustic/Electronic; Other Minds Festival